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Flux: three years; Oneseed Juniper, Juniperus monosperma

Flux: three years; Oneseed Juniper, Juniperus monosperma
Santa Fe, NM, USA

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Walking piece

“Flux: three years; Oneseed Juniper, Juniperus monosperma” is an array of seven photographs that come together as a single work of photographic installation. This installation is part of a larger, ongoing, series “Flow: Walking the Upper Arroyo Calabasas, Northern New Mexico” which is an intensive photographic description of a half-mile stretch of an arroyo in New Mexico, USA. The project also explores how the camera – a machine that creates a static image from a single point-perspective – can be used to express the dynamic movement of a walker and to expand the viewer’s experience of space and time.

The Arroyo Calabasas is a dry streambed that fills with water only a few times a year. The rest of the time, it is a path for walkers, horse riders, cyclists, coyotes, deer, and mountain lions. Its upper section flows less than half a mile from my home, and I have walked the nearest portion hundreds of times.

“Flux: three years; Oneseed Juniper, Juniperus monosperma” describes the flow and flux of change and stasis of the arroyo over time as the light and season change and mix with the imprint of passing weather and fauna. It constructs a new vision of the landscape, one that is seen from changing points in space and time, expressing how a walker returns to the same place over and over in changing moments and moods.

Credits

Artist: Alexandra Huddleston
Hosted by: The River Box

APA style reference

Huddleston, A. (2023). Flux: three years; Oneseed Juniper, Juniperus monosperma. walk · listen · create. https://walklistencreate.org/walkingpiece/flux-three-years-oneseed-juniper-juniperus-monosperma/

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pedinamento

A highly influential ideologue of neorealism, scriptwriter and director Cesare Zavattini suggested “pedinare,” the Italian word for stalking or shadowing, as a technique for filmmaking. Pedinare in cinema entailed “tailing someone like a detective, not determining what the character does but seeking to find out what is about to ensue.” The etymology of the word in Italian suggests “legwork” as it is derived from the Italian word for foot, “piede.” It is possible to suggest that the proliferation of images of walking in Italian Neorealism is closely linked to the technique of pedinamento, not because all neorealist filmmakers were followers of Zavattini, but because going out onto the street to encounter the everyday life of post-war Italian cities and creating cinematic tools to articulate these encounters were major concerns for the filmmakers of that era.

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